Log 40 assembles a wide-ranging collection of thoughtful essays on some of the most urgent questions and debates in architecture today, bringing them into dialogue with those of architecture s recent past. The legacy and current status of architectural images are considered from radically different vantages, in Brett Steele s anecdotal discourse on Zaha Hadid s 1983 painting The World (89 Degrees), John May s exacting dissection of architecture after imaging, and Hana Gründler s exploration of the ethical implications of drawing borderlines. The issue features commentary by two contemporary architects on contemporary buildings: V. Mitch McEwen on David Adjaye s National Museum of African American History and Culture in Washington, DC, and Elisabetta Terragni on OMA s Fondazione Prada in Milan. Other highlights include an excerpt from Noah s Ark, the new collection of Hubert Damisch s singular writings on architecture; a lively response by Mark Foster Gage to Michael Meredith s recent Log essay on indifference; and a sampling of new domestic objects designed by architects.
In this issue: Trisha Brown travels toward a wall, David Buege remembers Christopher Risher Jr., Hubert Damisch floats a theory of architecture, Cynthia Davidson reads Keith Krumwiede s Atlas, Cynthia Deng & Elif Erez chase a tin can through Mexico City, Mark Foster Gage raises an objection to indifference, Hana Gründler limns the borders of ethics, Pablo Martínez Capdevila arbitrates the Radicals vs. Tendenza, John May processes images in real time, V. Mitch McEwen visits David Adjaye s NMAAHC, Matthew Soules appraises transhumanist vacancy, Brett Steele steps into Zaha Hadid s World, and Elisabetta Terragni reflects on the Fondazione Prada.
Plus: Alfini, Besler & Sons, Ania Jaworska, Jimenez Lai/Bureau Spectacular, MOS, Norman Kelley, Sam Jacob Studio, Thing Thing, and their wares. And observations on public art and preservation in Brooklyn . . .